Liquid thoughts and downloading

 YEAR XIII N.77

proscenio170@gmail.com

 

 

 

 

 

Liquid thoughts

               and Downloading

 

 

 

 

 

The mechanism of data transfer from my: Projet Data Image (1) to the execution of the work, imprints by similarity the technical/technological process of downloading. 

The annual notebooks, the paper, are the initial archiving: of ideas, of traces, of thoughts that will later become, liquid thoughts, the first drawings from which to fix an image that will likely become a work.

 

The process of creation will culminate in the immediate on-screen verification of the shapes and colors intended to be given to the work, the photographic impression will follow, which will be the initial referentiality, the possible color changes will take place in the pictorial while, the artist's freedom is total.

 

In the series of works Download, such a mechanism is implanted, the economy of means and materials to be used still reflects the initial spirit of the works of the late 1970s, of the Series Linea Striscia Quadrato Superficie ; Arte Povera, breathed in the academic years at the Albertina in Turin influenced and opened to new horizons of research.

        Eduardo Rodà - Download 1 - 2008 - acrylic on canvas cm. 36.5x51

            Eduardo Rodà - Download 2 - 2011 - acrylic on canvas cm. 122x122

            Eduardo Rodà - Download * Collapse Into Now - 2011 - acrylic on canvas cm. 122x122 - Private Collection

            Eduardo Rodà - Download 3 - 2011 - acrylic on canvas cm. 122x122

The artist's Atelier reflects these choices. The epuration begins with the essentiality of the use of materials, choice of colors limited to color scales, of yellows, blues and reds, blacks and grays, whites. Few are the brushes and rollers, one canvas at a time, execution time is long: waiting time and reflection time. The poor and small work space, accentuate the maximum concentration to the value of the work to be executed.

 

The choice of colors is essential, the color scale deliberately limited, in Collapse into now, the work the most complex of the series, where a monochromatic scale of reds materializes, leaving space in opposition to a breaking color, such as turquoise blue, which draws the eye to the central part of the surface.

In the other works, too, the turquoise blue along with the light blue/violet have a disruptive effect on the monochrome, fixing itself in settled detail.

 

The use of the camera from the mid-1980s and then that of 1990s technology influenced my work at birth, creating similarities in form and language, the abstract technical ones to which to refer.

 

Patterns and textures, details, enlargements, background blacks resembling photographic grain, still images, are the basic ingredients of my artistic research; the frames are the backbone, they are the windows open to the world, equal and opposite to the frames that framed a world of ideas different from our contemporary one. Actuality is the everyday, the now that stops, essentially in the calculated pictorial gesture.

 

 

 

1 - ( see article #66)

 

 

 

 

 

 

 

Thank you for devoting part of your time to my art